Device Art: A New Form of Media Art from a Japanese Perspective Machiko Kusahara Device Art is a concept for re-examining art-science- Background of the Project technology relationships both from a contemporary and Japanese works have been highly visible at international historical perspective in order to foreground a new competitions in the field where art and technology meet, aspect of media art. The term "Device Art" may sound and often involve original interface design based on pro- obscure, or even self-contradictory, but it is a conscious prietary hardware. Toshio Iwai, the internationally recog- choice. The concept is a logical extension of a change nized media artist whose collaborative work with Ryuichi in the notion of art that already started in the early 20th Sakamoto won the Golden Nica at Ars Electronica in century with art movements such as Dada and 1998, is an example of an artist creating this type of Surrealism. More recently, interactive art has redefined work. At SIGGRAPH 2005, TENORI-ON, a prototype he forms of art and the role of artists. What we call device developed with Yamaha, attracted much attention for its art is a form of media art that integrates art and technol- unique features and refined design. The piece consists ogy as well as design, entertainment, and popular cul- of a matrix of illuminated touch-activated buttons that ture. Instead of regarding technology as a mere tool serve as both input and output mechanism. Nothing else serving the art, as it is commonly seen, we propose a is needed: the interface / display itself is an innovative model in which technology is at the core of artworks. As musical / visual instrument. After having explored a simi- I will discuss later, the concept took shape on the basis lar idea for years on different platforms, including of an analysis of works by contemporary Japanese portable game machines and cell phones, the artist con- media artists. Features surfacing in many of these proj- siders this the ultimate version. The work is a device ects include interaction, a positive attitude towards tech- that enables anyone to play sound and enjoy images nology, and playfulness. The influence of Japanese cul- without any learning process; it is simple, beautiful, and tural tradition can be clearly traced in these haracteris- self-contained, with open interaction for users. As the tics. Another aspect of this work is the artists' involve- piece is made of transparent acrylic to make the light ment in fields such as design, entertainment, and com- patterns visible from any direction, its function also mercial production, which becomes evident in the becomes transparent. The choice of materials is thus approach of internationally recognized artists such as crucial in realizing the artist's concept. Toshio Iwai, Nobumichi Tosa (Maywa Denki), and Kazuhiko Hachiya. This approach, which is often consid- While theoretical analysis is an ered suspect from a Western point of view, is actually a natural part of Japanese art. A long history of visual cul- important part of the Device Art ture that developed independently from Western para- project, producing artworks digms of art plays an important role in the Japanese art scene, offering artists wider possibilities for bringing according to its concept is the key their concepts outside of the context of museums and element. The project launched in galleries. the fall of 2004 and has been While theoretical analysis is an important part of the pursued by nine artists and Device Art project, producing artworks according to its researchers, with a five-year grant concept is the key element. The project launched in the fall of 2004 and has been pursued by nine artists and from the Japan Science and researchers, with a five-year grant from the Japan Technology Agency, since the fall Science and Technology Agency, since the fall of of 2005. 2005.[1] The aim of the project is not only to create "device art" but also to develop a working model for pro- ducing, exhibiting, and distributing these works, and the- Interest in hardware-based artwork with original design oretically frame them. Making these artworks accessible also is a key element in the activities of Maywa Denki, to a wider audience and users outside of the museums an "art unit" led by Nobumichi Tosa. [Fig. 1] Mixing low- and galleries is part of our agenda. Development of tech and high-tech, he designs and manufactures hardware and software modules to support the art prac- strange looking robotic instruments that are performed tice is also planned. by him or in collaboration with his "employees," or pre- programmed, or sold to enthusiastic Maywa Denki pacificrim.kusahara.deviceart.01 intelligent agent 06.02 fans.[2] Although they often look odd and incorporate could chase the shadows of invisible goblins, suck them crazy ideas, the instruments function perfectly well. up with a vacuum cleaner, and feel their weight.[6] As They are constructed on the basis of his knowledge and these examples show, a combination of interaction, understanding of technology and material, as well as the application of physical material and custom-made practical skills required in cutting and molding metal devices, as well as playfulness characterizes many of parts, and working with programming chips and comput- these works from Japan, be they meant as art or ers. While the instruments look strange, their mecha- research. An affirmative attitude towards technology is nism is clearly visible to the audience, and Nobumichi another crucial feature of these projects. Technology is Tosa even explains how they work during the perform- not treated as something that should remain hidden ances. The fact that the robotic instruments occasionally behind an artistic concept, or something that instigates do not immediately function properly also becomes part fear; rather, it is an important part of these works to of the performance. It is important to the artist to keep make visible to the audience / participants what technol- the technology transparent and visible, including the ogy has to offer. However, this does not mean that the possibility of its malfunctioning. Criticism of an industry technologies used are idealized. Even the risks accom- that hides the "IT" behind a "wall" is an important part of panying technology can be represented in a playful his concept. With his funny robots and devices, Tosa manner, as in the case of Maywa Denki's performances insists that technology should not become a black box. and custom-made electronic instruments. The bare cir- cuits occasionally emit sparks when the instruments are played by the artist, who comments, "Hundred volts – very dangerous!" However, works that are highly appreciated in Japan are often criticized by the Western art community for their lack of seriousness. These criticisms are often related to the entertainment factor in the works and their affirma- tive attitude towards technology, which are both typical of Japanese works, as indicated earlier. However, being critical does not necessarily require being serious or negative towards technology. This issue is deeply root- ed in each of the societies' histories, particularly the effects of the industrial revolution. In Europe and in the United States, the industrial revolu- tion and automation are remembered as extremely neg- ative and inhuman experiences for average people. Films such as Fritz Lang's Metropolis and Charlie Chaplin's Modern Times both illustrate this attitude. The experience certainly was different in Japan, where the industrial revolution took place much later in a short period of time in which the country was trying to catch Figure 1. Nobumichi Tosa (Maywa Denki) with his sculptures. up after more than two hundred years of isolation.[7] This also connects to the tradition of using science and The creation of entertaining works with original, physical technology for entertainment purposes rather than prac- interface design is a field not limited to professional tical applications. Japan had a long period of peace until artists. For the past few years, SIGGRAPH's Emerging the mid-18th century when it opened its borders and the Technologies (E-Tech) and Art Gallery have been filled latest technologies and scientific instruments were with Japanese art works and research projects, includ- imported and utilized for entertainment instead of "prac- ing numerous ones by students.[3] With approaches tical" purposes such as the manufacturing of weapons. ranging from Hi-tech to low-tech, they have come up Technology was something to be enjoyed rather than with original and playful ideas involving unexpected something to be feared. uses of technologies. At SIGGRAPH 05, visitors could push around a tea can on a table and simultaneously The close relationship between art, entertainment, and see on a screen how little virtual creatures, Kobitos, per- design, as in the case of artists creating artworks on formed the visitors' action [Fig. 2]; or suck different kinds game platforms, games themselves, or commercially of virtual food and drink through a plastic straw, while available products, may also seem problematic from a the actual pressure, vibration, and sound produced by Western perspective,. Toshio Iwai's TENORI-ON, which drinking would be simulated by the system.[4] [Fig. 3] At I referred to earlier, has been developed in collaboration SIGGRAPH06, participants could touch a soap bubble, with Yamaha. His ELECTROPLANKTON is an artwork with images projected on its surface, which would pro- to be played on the Nintendo DS game machine. As in duce sound when it broke upon touch.[5] [Fig. 4] Or they the case of TENORI-ON, the software invites users to intelligent agent 06.02 pacificrim.kusahara.deviceart.02 Games, toys, and gadgets created by artists are not very common, but they are not a rare phenomenon in Japan and are widely accepted as a part of popular cul- ture.